{"status":true,"msg":{"data":{"id":61629,"auction_id":209,"set_id":242,"lot_number":"51","artist":"Mariano Asuncion (1802 – 1885)","title":"Nuestra Señora del Rosario","starting_price":700000,"signed_dated":"19th Century","medium":"oil on board","size":"18\" x 13 1/2\" (46 cm x 34 cm)","property":"PROPERTY FROM THE MA. CRISTINA O. ROXAS COLLECTION","coa":null,"provenance":"Santa Cruz, Manila <br>\nEx Coll: Maria Cristina Consing Ongpin–Roxas; Private Collection","exhibited":"Ayala Museum, Art & Family: The Asuncion Legacy, Makati City, 7 August 2017 - 14 January 2018","literature":"Balaguer, John Alexis B. Art & Family: The Asuncion Legacy. Published to accompany the exhibition of the same title at the Ayala Museum in 2017-18. Makati City: Ayala Museum, 2018. Full-color reproduction and painting description on page 63.","write_up":"This painting depicts “Nuestra Senora del Rosario”/Our Lady of the Rosary. The Virgen Maria holds the Nino Jesus on her left hand while he holds the rosario which hangs from her neck in the fashion of the day, which she also holds with her right hand. The Virgen Maria is dressed in a red tunic edged with gold embroidery, a gold cincture around her waist, and a blue cape also edged with gold embroidery; she also wears an embroidered “pina”/“nipis” “balabal” scarf on her neck. The Nino Jesus is dressed in a white tunic (perhaps “pina”/“nipis”?) edged with gold embroidery. The Virgen and the Nino both have gold crowns and are surrounded by two cherubs on either side. All the faces are singular and individual, none are academic. The careful and palpable rendition of the Virgen’s and Nino’s dresses take inspiration from 17th century/1600s Spanish painter Francisco de Zurbaran. The work is attributed to the nineteenth century Filipino master of religious painting, Don Mariano Asuncion y Molo (circa 1802–1888). The devotion to Nuestra Senora del Rosario and to the Rosario was propagated by the Dominicans (OP Ordo Praedicatorum/La Orden de Predicadores), who arrived in Manila in 1581 and set up their first church and convent of bamboo and thatch in Intramuros, beside the Rio Pasig.\n\nThere is a rare, signed “Santa Regina, virgen y martir” and its attributed pendant “Santa Isabel de Ungria, reina” in the Dr Antonio Perez–Canon Manahan and Josefina Acebedo Pedrosa Collection. An attributed, lovely “La Asuncion de la Virgen” is in the Eleuterio Montano Pascual Collection. There is an attributed, stirring “El Transito de San Jose” in the Renato Luna Santos and Asuncion Soriano Lopez Collection. An attributed, elegant “Nuestra Senora del Rosario” is in the BSP Bangko Sentral ng Pilipinas Collection. Another attributed “Nuestra Senora del Rosario” is in the Museo de Intramuros of the Intramuros Administration. There is a rare, signed “Nuestra Senora del Rosario” in the Lamberto Raymundo Ocampo (Ambeth Ocampo) Collection; the signature was found at the rim of the canvas, obscured by the frame. There is an attributed, luminous “La Coronacion de la Virgen” in the Paulino Que and Hetty Kho Collection. And there are many more waiting to be discovered.\n\nThere are two religious paintings “Nuestra Senora del Rosario” and “La Coronacion de la Virgen” in the Atty Jose Maria Perez–Barcelo Trenas Collection attributed by Ramon N Villegas, Maria Cristina Consing Ongpin –Roxas, and Santiago Albano Pilar to Don Justiniano Asuncion y Molo (1816– 1901), Don Mariano’s younger brother. They are important to the study of Mariano Asuncion’s works because they are certainly different in style and show the progression of Filipino religious art through the decades.\n\nVery few religious paintings from the nineteenth and eighteenth century are signed. The pioneering names Faustino Quiotan (18th century), Damian Domingo y Gabor (1796–1834), Juan Arceo, Jose Dans y Luciano (active 1850s), Antonio Francisco Malantic y Arceo, Mariano Asuncion y Molo (1802–1888), Justiniano Asuncion y Molo (1816–1901), Simon Flores y de la Rosa (1839–1904), Juan Senson (1846–1927) rarely appear, if ever at all. There are many unrecognized masterpieces by nineteenth century blue–chip artists floating around, unwanted and unappreciated. The anonymity is in accordance with a prevalent tradition in those extremely pious and unreasonably scrupulous days: God is the creator, not Man. Humility of Man before God is paramount. In short: Divine Origin is the order of the day. God made the Art. Period. That explains why so many popular, venerated religious paintings/icons and images have romanticized origins: they were “mysteriously” and “miraculously” found floating on the sea or river, in a fishing net, rose from the waves, among the rocks, in an abandoned house, in a burning house, in a cave, atop a tree, at a ricefield, descended from the sky, brought by lightning, carved by angels, and other highly unusual circumstances. They were never made by Man.\n\nDon Jose the painter, Don Mariano the painter, Don Leoncio the sculptor (1813–1888), and Don Justiniano Asuncion y Molo (1816–1901) the portrait painter were among the artistic sons and daughters of Don Mariano Cagalitan Assumpcion (o 1770) and Dona Maria de la Paz Molo of Santa Cruz, Manila. Dona Maria de la Paz Molo was a sister of Don Paterno Molo de San Agustin, forebear of the extremely affluent and distinguished Molo Agustin Paterno clan; Maria de la Paz and Paterno were children of the Molo ur–ancestor Ming Mong Lo, the migrant apothecary from China who was probably a descendant of the Ming dynasts, according to Chinese genealogists. The famous Capitan Maximo Molo Agustin Paterno y Yamson (Capitan Memo) and his sister Capitana Martina Molo Agustin Paterno y Yamson, Sra de Mariano Zamora (Capitana Tinang) were the first cousins of Jose, Mariano, Leoncio, and Justiniano Asuncion y Molo. The very rich siblings Capitan Maximo Paterno and Capitana Martina de Zamora commissioned many works, indeed masterpieces, from their talented, paternal Asuncion first cousins --- paintings, portraits (bust and life–sized), sculpture, religious statuary. However, so much was destroyed during the Liberation of Manila in February 1945. Sic transit gloria mundi.","lot_group":"PAINTING","lot_details_html":null,"alias":null,"hp":900000,"bp":0.2016,"isWithdrawn":0,"accounting_hp":900000,"userBid":34,"isPaid":0,"userId":34,"lot_status":"SOLD","isDone":1,"bid_history_id":24911,"reserve_price":0,"hammer_price":1081440,"fav":0},"image":[{"id":68529,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/209/242/lot/51.jpg","isFeatured":1},{"id":68903,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/209/242/lot/51a.jpg","isFeatured":0},{"id":68902,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/209/242/lot/51b.jpg","isFeatured":0},{"id":68901,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/209/242/lot/51c.jpg","isFeatured":0}]},"increment":[900000,1000000,1100000,1200000,1300000,1400000,1500000,1600000,1700000,1800000,1900000,2000000,2200000,2400000,2600000,2800000,3000000,3200000,3400000,3600000,3800000,4000000,4200000,4400000,4600000,4800000,5000000,5500000,6000000,6500000,7000000,7500000,8000000,8500000,9000000,9500000,10000000,11000000,12000000,13000000,14000000,15000000,16000000,17000000,18000000,19000000,20000000],"prev":50,"next":52,"count_bid":0,"bid_history":[],"tokenExpired":1}